Procedural audio, sometimes known as digital Foley, is the real-time and controllable generation of sound effects. It is an alternative to sourcing sound effects from vast libraries of pre-recorded samples. It may be used to have sounds adapt to the changing game state, and to dynamically generate all the sounds of a virtual world. However, there are cIRCAM:Galleryenges concerning the diversity of sounds that may be generated, the controllability of procedural audio models and the quality of the sounds that it produces. We address all of these aspects in this presentation. We showcase the opportunities that procedural audio offers and how the cIRCAM:Galleryenges can be surmounted, while providing demonstrations of these concepts. The session opens with an introduction to the presenters before moving into a broad review of procedural audio and its history in game sound design, covering core concepts, prior uses, and how the technology has developed over time. A video presentation accompanies this overview before the workshop turns to an honest examination of the key cIRCAM:Galleryenges facing the field: the diversity of sounds that can be generated, the controllability of procedural models, and the quality of their output. Recent advances tackling these limitations are then discussed, followed by live demonstrations of state-of-the-art procedural audio systems from Nemisindo, which generate dynamic, immersive soundscapes in real time. The session closes with an open questions and answers segment. Attendees will leave with practical insight into how procedural audio can enhance and expand the creative process for game sound designers, a clearer understanding of how to implement dynamic and adaptive sound in their own projects, hands-on exposure to interactive soundscape techniques, and concrete tips and tricks for improving their game audio practice. This session is suitable for sound designers, game developers, and anyone curious about the future of game audio, no prior knowledge of procedural audio is needed.
Procedural audio is an essential part of building interactive media. Game engines have long supported procedural techniques for designers and engineers. The demand for sounds that feel natural and realistic continues to grow, and spatial and interactive sound design play a key role in creating plausible auralizations. Many factors go into creating realistic virtual collision sounds across multiple objects. Speed of motion, size, material, and design intent from game mechanics all intertwine into a web of interactivity, spatialization, modeling, storytelling, and logic. The sound of footsteps changes with movement and with the materials beneath, pressing buttons or fabrics might require tactility, and explosives in a variety of rooms and different listening positions pose spatialization subtleties. What are the right tools to realize these intricacies? What does the current landscape look like for addressing remaining cIRCAM:Galleryenges? What developments are emerging in machine learning and AI? In this workshop, organized by the AES TC Spatial Audio and AES TC Interactive Media and Gaming, speakers will share workflows, systems, and their experience developing spatial, interactive, and generative sound design. The session is intended for those looking to expand their toolkit, rethink existing approaches, and better understand the practical and technical considerations behind procedural and spatial audio systems for virtual sounds.
